Have a sweet tooth? Here's a Red Velvet Cupcake in the making...

I'll start off by saying that I have a sweet tooth, and my ''poison'' is chocolate. After sampling a red velvet cupcake for the first time about 2 years ago, I developed a ''fondness'' for the baked good. I also thought it'd be a great thing to put into a piece of illustration, and I love the red checkered paper casing. 

I've really tried to stretch how well I can render food illustration with coloured pencils - really trying to make it look as delicious as it tasted. There are many many different ways to approach creating a food illustration, and my approach is to have the subject on its own - give it center stage, and strongly keep in mind the colour scheme that runs through it.

''Almost Gallery''

Whilst my drawing ''Millenial'' wasn't selected for the annual UKCPS exhibition this year, it was featured in the latest issue of Talking Point (*UKCPS' magazine) in the ''Almost Gallery'', exhibiting a selection of works that nearly made it to public exhibition. :)

''Millenial'' is located on the right hand side of the page.

 

''My Old Chucks''

After a few months, this drawing is finally finished! I decided to throw out my pair of red converses because they had served their time and were a reminder of my time at Art College (2009-2011). 

I used Faber-Castell Polychromos coloured pencils on A4 Bristol Board. I will eventually transition to a larger size. Please forgive me for the current low-res image, I'll be uploading a sharper one shortly.

''A Cup of Tea'' - SOLD!!

I'm so happy to see that this piece has sold by my 2nd US customer :) I've also garnered 13 new followers this week so far. It's great to see that my work is being appreciated, however few and far between the sales are. There's always work for improvement.

Finally ''Boundary Gardens'' is listed!

Now I'm just trying to collate my art prints together in the anticipation of some sales. Best to be prepared for these sort of things :) I've created two listings for this photography print, on Artfinder.com and Etsy https://www.etsy.com/listing/480569007/photography-print-of-an-urban-scene-in?ref=shop_home_active_1

In order to not go crazy, I'm keeping the limited edition number very low, and for now, the prints will be unframed. I have an idea of which works are popular, so that's a good indication to know which prints should take priority.

Boundary Gardens, 2016 at 11x6.jpg

''On the Central Line'' (WIP)

Here's a current work In progress. The setting is the interior of the Central line tube, London. The shot was taken on a day that the entire carriage was empty for once.

I'm going to really take my time with this one - working on a 18x24" canvas. This current stage is simple colour blocking.

Wish me luck!

''London 1'' - completed

I'm finally back again after quite some time, and am pleased with my latest illustration entitled: ''London 1''. This will be the first of my London collection. It's definitely been a challenge completing this one. 

[WIP] EC1 - taking shape

I'm really liking the progress so far! I will go over the entire illustration to make the colours even bolder. Right now, I just want to get colour and form on the page. 

[WIP] EC1 - adding colour

I use Faber-Castell Polychromos coloured pencils on cartridge paper. Having used Bristol board in the past, I feel more comfortable with cartridge paper because of the 'tooth' the surface provides. 

[WIP] EC1 - laying the foundations.

The most challenging aspect of this illustration was rendering the architecture as realistically as possible. The initial image was drawn in pencil. It's not a subject that I have focused on before.

''Tuscany 2'' is done! [original timestamp: 27.06.2016]

After leaving this painting alone for about 2 weeks, I decided to spend more time on finishing it. I worked on the detail using my Pro Arte sabel brush ''000''. It's a habit of mine, to work on a painting to the point that I never feel it's finished. So seeing my work through someone else's eyes offers me a great deal of clarity. Also, taking a good break from painting is healthy. Taking progress shots is the standard way for me to judge how far I've come with the work, or if something needs tweaking. I'm not always able to determine progress simply by looking at the painting.

Nevertheless, I'm content with this painting, and really feel that my skill is slowly improving. In the past I'd never dare to paint cityscapes and human figures!

Tuscany 2 - work in progress - pedestrians [original timestamp: 14.06.2016]

I've been doing a bit more work on the right hand side, not adding that much detail just yet. More like a bit of colour correction. I've also added the pedestrians to illustrate scale. Given that the sun was shining on the left side of the street, the right side with the red brickwork will be a fair bit darker than it appears currently.

(Running out of Cadmium Red...)

Tuscany 2 - work in progress [original timestamp: 2nd June]

Just finished this underpainting (work in progress) for ''Tuscany 2''. This shot was taken in Florence, with the Duomo in the distance. I hope that the colours in this painting will reflect the temperature it was when I initially took the photo: 33 degrees C!!! And NO BREEZE! -_-

* Surface: 14x11" stretched canvas
* Paint: Daler-Rowney Georgian Oils, Winsor & Newton Artists' Oil Colour, and Daler-Rowney Graduate Oil

 

First blog post/''Tuscany 1'' is finished!/A review of my work to date. [original timestamp: 28.05.16]

So after spending about 2 weeks working on this piece, I can finally say that I'm pleased with the end result, and that my skill of painting has improved.

There'd been a lot of oscillating in my head between painting landscapes and urban scenes, or just still life compositions. I did a lot of brainstorming; weighing up the pros and cons of both subject matters, as well as taking a look at the art industry itself. The majority of my paintings weren't good enough to sell, despite all the 'likes'. It seemed like I had basically been painting fragments of scenes, instead of full scenes that a broader audience could identify with. 

I've done some travelling throughout my life to various countries, and have always tried to document my findings (I don't particularly want myself to be visible in the shots, what matters more are the scenes I capture). Why not turn some of these into paintings? I'm not aiming for photorealism, but I want the viewer to really feel like they're stepping inside my paintings.

'Tuscany 1', 2016